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A LARGE SILVER REPOUSSE STATUE OF BUDDHACambodia, post-Angkor-period, c. 15th-17th century. Standing on a circular lotus base, holding his right hand in abhayamudra, the protection gesture, dressed in a long robe with finely incised folds, a shawl hanging over the left shoulder, the face with a benevolent expression, almond shaped eyes below gently arched eyebrows, flanked by elongated earlobes, surmounted by a flaming ushnisha.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Excellent condition, commensurate with age. Some wear, casting flaws, few nicks and dents, light surface scratches, and traces of old soldering. The interior with ancient filling material.Weight: 5.7 kg Dimensions: Height 64.8 cmLiterature comparison:Compare a related silver figure of a standing Buddha, also attributed to post-Angkor-period Cambodia, in the collection of the National Museum of Cambodia, inventory number Ga.1928. Compare a related silver figure of the seated Buddha, with related incision work to the base, dated to the 16th century, Cambodia, in the collection of the Metropolitan Museum of Art, accession number 85.11.1.

Psalterium für die Dominikanerinnen von St. Katharina in Nürnberg. Illuminierte Handschrift auf Pergament. Nürnberg, um 1500.152 x 121 mm. 176 Bll. Lagen: 16, 2-910, 108, 11-1810, 194-2 (ohne 2 [leere?] Bll. am Schluss). Wortreklamanten. Moderne Bleistift-Foliierung 1-176. Textspiegel 120 x 85 mm. Lateinischer Text in schwarzbrauner Textualis, einspaltig zu 20 Zeilen; Noten in Quadratnotation auf vierlinigem roten System; Kalender in 6 Spalten in brauner, roter und blauer Tinte. Ein- und zweizeilige Lombarden alternierend in Rot und Blau. Neun siebenzeilige Initialen zu Beginn des Paternoster und im Psalter aus farbigem, meist rotem, blauen oder grünem weißgehöhten Akanthus, auf fein mit Ranken oder Strahlenkränzen ziseliertem polierten Blattgoldgrund, von schmalen, blau-roten oder blau-grünen Leisten gerahmt; auf allen Initialseiten im Seiten- bzw. Bund- und Fußsteg Akanthusbordüren, teils mit Blüten, in Rot-, Grün- und Blautönen sowie Goldpollen. Eine sechszeilige Initiale in Blau mit pergamentausgesparten Drachenfiguren, gefüllt mit rotem Quadratmustergrund, mit Fleuronnée in Blau und Rot.Inhalt: Fol. 1r-6v Kalendar (u.a. Jan. 28. Translacio S Thome de aquino, März 3. Kunegundis, März 7. Thome de aquino, Mai 24. Translacio sancti Dominici, Juli 13. Hainrici conf., Aug. 19. Sebaldi confess., Sept. 9. Translacio Kunegundis; ferner bemerkenswert: Mai 13. Servacij episcopi). 7r-9v Pater noster, Ave Maria. Credo. Invitatorien (7r gr. Initiale mit Bordüre, 8v Fleuronnée-Initiale zum Antiphon). 9v-151r Psalter mit Antiphonen (zu den Psalmen 1, 26, 38, 52, 68, 80, 97 u. 110 gr. Initialen mit Bordüren).151r-162v Cantica (159r gr. Fleuronnée-Initiale zum Te Deum).163r-166v Litanei (u.a. Dominice [zweifach!], Sebalde, Catherina [zweifach!]).166v-167v Orationen.167v-176v Antiphonarium (Nocturnen u. kleine Horen, beginnend mit "In adventu domini", schließend mit "Dominica in tempore resurrectionis".Marmorierter brauner Kalbslederband des 19. Jhs. mit klassizistischem ehemals vergoldeten Rückendekor.(Stärker berieben, vorderes Rückengelenk defekt. Im Ganzen zu stark beschnitten; die Bordüren allseitig angeschnitten und teilw. leicht berieben.)Vgl. UB Freiburg i.Br. Hs. 302. - Ein Gegenstück zum Freiburger Psalter, der in Texten und Zusammenstellung nahezu identisch ist, den Bordürenschmuck wohl von gleicher Hand bietet (dessen Goldinitialen aber sämtlich ausgeschnitten worden sind) und der offensichtlich von anderer Hand geschrieben wurde.Die Herkunft und Datierung ist wie im Freiburger Exemplar aus Kalender und Litanei abzulesen: Heinrich und Kunigunde sind Leitheilige der Diözese Bamberg, zu der Nürnberg gehört, Sebaldus ist Stadtpatron von Nürnberg. Der Kalender folgt dem Gebrauch der Dominikaner, die doppelte Anrufung des Dominicus und der Katharina in der Litanei weisen ohne Zweifel auf das Nürnberger Katharinenkloster hin. Durch das Auftreten des Servatius im Kalender am 13. Mai kann als Terminus post quem das Jahr 1498 gesetzt werden, da der Heilige erst ab diesem Jahr in dominikanischen Kalendaren erscheint (s. Leroquais I, S. CI).Die Handschrift wurde vom Vorbesitzer 1977 im Londoner Antiquariatsbuchhandel erworben.

Lithgow, William: The total discourse, of the rare adventures, and painefull peregrinations of long nineteene yeares travailes from Scotland, to the most famous Kingdomes in Europe, Asia, and Africa. [2nd ed.] London: Okes 1640. 18,4 x 14 cm. Mit Front.-Portr. in Hz. und 7 Texthz. 7 Bll., 514 SS., 2 (von 4) Bll. HLdr. mit Wappensupralibros der Signet Library auf den Deckeln. (Berieben und bestoßen, Gelenke und Ecken restauriert. Gebräunt und altersfleckig, Frontispiz t. mit Defekten, daher aufgezogen; über 100 Textbll. mit erneuerten Rändern, 2 Bll. des Inhaltsverzeichnisses zum Schluss t. hs. ersetzt, ebenso der Text auf S. 513 zum Schluss hs. ergänzt.) STC 15714. Pollard & Redgrave II, 15714. Blackmer 1021. Röhricht 934. - Der klassische Bericht des Reisenden W. Lithgow (1582-1645?) geboren in Lanark, erschien erstmals 1614 in London und erlebte zahlreiche Auflagen, die laufend um weitere weitere seiner Reisen ergänzt wurden. Er besuchte Italien, die Ionischen Inseln, Athen, Kreta und den Ägäischen Archipel im Jahr 1609 und hielt sich eine Zeit lang auf Chios auf. Nach seinen eigenen Berechnungen hat Lithgow etwa sechsunddreißigtausend Meilen zurückgelegt, erlebte Haft und Folterungen in Spanien, wurde in London wegen Angriffs auf den spanischen Botschafter wieder inhaftiert usw. - "Thus it is probably the earliest authority for coffee-drinking in Europe, Turkish baths, a pigeon post between Aleppo and Bagdad, the long Turkish tobacco-pipes, artifivial incubation, and the importation (since about 1550) of currants from Zante to England ... " (Blackm. Cat. 198, zit. Dictionary of National Biography). - Selten.

ERNST BARLACH 1870 - 1938 ANNO DOMINI MCMXVI POST CHRISTUM NATUM (ZU: DER BILDERMANN) 1916 Lithographie auf Japanbütten. Signiert. 19,2 x 23,5 cm (53 x 39,5 cm). Schult 80, Vorzugsdruck ohne die lithographische Signatur. (Alters- und Montagesspuren; Randdefekte und Erhaltungsmängel: Eckabriss; Faltspuren).

Kircher, Athanasius. 2 Werke in 1 Bd. Blindgepr. Schweinsldr. auf 5 Bünden mit hs. Rt. 1) Arca Noë, in tres libros digesta,... Quae omnia novâ Methodo, nec non, Summa Argumentorum varietate, explicantur, & demonstrantur. Amsterdam: J. Janssonius à Waesberge 1675. 36,6 x 23,8 cm. Mit gest. Frontispiz, 3 gest. Ktn. (davon 2 doppelblgr.), 14 Kupfertafeln (davon 10 doppelblgr. und 1 mehrfachgefaltet, aus drei Blättern zusammengesetzt), 10 Textkupfer (davon 1 ganzs.) und über 100 Textholzschnitten. 7 Bll., 240 SS., 8 Bll. Dünnhaupt 2346, 29; Anzahl der Kupfer abweichend. Nach Dünnhaupt fehlt das Porträt von König Carlos II. von Spanien. - "Geschichte Noahs vor, während und nach der Sintflut. Die amüsanten Kupfer zeigen Konstruktionsphasen der Arche, Ställe der Tiere an Bord usw." (Dünnhaupt).2) Turris Babel, sive Archontologia qua primo Priscorum post diluvium hominum vita, mores rerumque gestarum magnitudo, secundo Turris fabrica civitatumque exstructio, confusio linguarum,... Amsterdam: Janssonius à Waesberge 1679. Mit gest. Frontispiz, 14 teils mehrf. gefalt. Kupfertafeln, 13 teils ganzs. Textkupfer und mehrere Texthz. 7 Bll., 219 SS., 13 nn. SS. Dünnhaupt 2347 f., 32. "Schilderung Babylons vor und nach der Zerstörung und Sprachverwirrung". (Dünnhaupt). (Einband berieben und gebrauchsfleckig. Leicht gebräunt, vereinzelt stockfleckig, wenige Wurmgänge.)

A cast iron Post Box (no key present).

Three large turned and reeded wooden legs for a grand piano and a turned wood newel post.

A ground compactor and a narrow post-hole digging Spade.

Churchill (Sir Winston Spencer) [Post-War Speeches], 5 vol., comprising The Sinews of Peace, 1984; Europe Unite, 1950; In the Balance, 1951; Stemming the Tide, 1953; The Unwritten Alliance, 1961, first editions, modern royal blue half-morocco, spines gilt in compartments with red morocco labels, 8vo.

A COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI PERIOD OR SLIGHTLY LATERNepal, 9th-11th century. Standing in tribhanga on a circular lotus base, his right hand lowered in varada mudra and the left holding a lotus stem coming to full bloom at the shoulder, wearing a long flowing dhoti secured with a billowing sash, sacred thread, and foliate tiara centered by a small image of the Amitabha Buddha, his serene face with almond-shaped eyes and full lips, with a smooth deep brown patina overall and traces of gilding.Provenance: From a Swiss private collection, acquired in Nepal from a Tibetan family. Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, small losses, minuscule nicks, light scratches, dents. Fine, naturally grown patina.Weight: 452.1 gDimensions: Height 17.4 cmThe present lot is stylistically related to the copper alloy and bronze figures of the Licchavi period dating from the 9th century. Well cast, the figure displays the elegance of post-Gupta sculpture, the dhoti finely incised with textile patterns of the period. The rounded facial features still show a close relationship to the Sarnath style. The flaming halo is most effectively executed and the foliate crown displays a remarkable feature as it bears an image of a standing Amitabha, the spiritual father of Avalokiteshvara. As is typical for the period, the original fire gilding is relatively thin and now mostly worn off, yet the fluidity of form and the warm copper tone are thus even more enhanced.Literature comparison: This bronze favorably compares with the famous eighth-century figure of Vajrapani from the Nasli and Alice Heeramaneck Collection. The dhoti is similarly secured with a diagonally bound billowing sash and finely incised with linear bands, see P. Pal, Art of Nepal, 1985, fig. S6, p. 90. Compare also with a figure of Avalokiteshvara with a similarly integrated flaming halo, in P. Pal, The Arts of Nepal, 1974, fig. 190, and a further figure bearing a seated figure in the crown, fig. 295.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 503 Price: USD 313,000 or approx. EUR 425,000 converted and adjusted for inflation at the time of writing Description: An important gilt copper figure of Avalokiteshvara, Nepal, Licchavi period, 8th/9th centuryExpert remark: Compare the closely related pose and dress, the related mandorla and copper patina with traces of gilding. Note that the figure is considerably larger (29.2 cm) and likely earlier than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 600 Price: USD 241,000 or approx. EUR 327,500 converted and adjusted for inflation at the time of writing Description: A rare gilt copper figure of Padmapani, Nepal, 10th century Expert remark: Compare the closely related pose, dress, lotus base, and copper patina with traces of gilding. Note that the figure is considerably larger (34.8 cm) and possibly earlier than the present lot 利察維王朝或之後罕見銅鎏金蓮華手菩薩尼泊爾，九至十一世紀。蓮華手菩薩呈三曲式站在蓮花座上，右手下垂，左手持蓮花莖，蓮花靠在肩上，身著百褶褲，佩戴五葉冠，中坐阿彌陀佛小像。面容平靜，杏仁狀的眼睛，豐滿的嘴唇。整體有光滑的深棕色包漿和鎏金痕跡。 來源：瑞士私人收藏，從尼泊爾一個藏人處購得。 品相：品相極好，大面積磨損、輕微的鑄造缺陷、小缺損、微小的刻痕、輕微的劃痕、凹痕。包漿細膩自然。 重量：452.1 克 尺寸：高 17.4 厘米 本拍品在風格上與九世紀的利察維時期的銅合金造像相似。鑄工精美，人物展示了後笈多雕塑的優雅，多褶褲上可見當時的紡織圖案。圓潤的五官與鹿野苑風格相似。五葉冠上特徵明顯，可見阿彌陀佛立像。與這一時期的典型情況一樣，原來的鎏金相對較薄，現在大部分已經磨損，更增强了其溫暖的銅色。 文獻比較：此金蓮華手菩薩像與一件收藏於Nasli and Alice Heeramaneck Collection的知名的八世紀金剛手菩薩像相比，更有優勢。斗篷也是用對角線捆綁的波浪形腰帶固定，並有精細的線狀刻痕，見P. Pal，《Art of Nepal》，1985年，圖S6，頁90。比較一件觀世音菩薩像，有相似的火焰光背，見P. Pal，《Art of Nepal》，1974年，圖190；另一件有王冠的觀音菩薩坐像，圖295。由於字數限制，完整中文敘述請至www.zacke.at查看。

A FAMILLE VERTE 'DRAGON' SWEETMEAT SET, KANGXI PERIODChina, 1662-1722. The central dish of six-lobed form enameled in green, yellow, aubergine, black, and white with three fierce sinuous dragons chasing flaming pearls amid wispy flames, the rim with a diapered pattern interrupted by plum blossoms, the exterior with stylized bamboo sprays. The six surrounding fan-shaped dishes with foliate upper rims similarly decorated with a single dragon each. (7)Expert's note: It is extremely rare to find a complete seven-piece set from the Kangxi period with both the biscuit porcelain and the enamels in such pristine condition.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Each dish with an old printed and handwritten label 'No. 4603' to base. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Superb condition with only minor old wear, some expected firing flaws, and light surface scratches.Weight: 389.6 g (the central dish) and 1,252 g (the six surrounding dishes in total) Dimensions: Diameter 39.5 cm (total) and 19 cm (the central dish), length 19 cm (each of the six surrounding dishes)Auction result comparison: Type: Closely related Auction: Aguttes, Paris, 31 May 2022, lot 66 Price: EUR 20,150Description: Ensemble de sept raviers en biscuit et emaux de la famille verte, XVIIIe Siècle, periode Kangxi Expert remark: Compare the closely related form, diapered band with plum blossoms, and famille verte decoration on the biscuit porcelain. Note the similar size (40 cm).康熙素三彩龍紋攢盤中國，1662-1722年。此攢盤是由一個內盤和六個外盤共同組成葵花式，造型優美，設色雅緻明麗，構圖疏朗有致；綠地龍紋，線條挺拔，畫工精良。如此完好的康熙龍紋攢盤，實屬難得。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員，他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的，主要包括古典時期（1570 年後）的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來，Lagonico 離開埃及前往瑞士，就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商，他繼承了大部分藏品，並一直默默無聞地保存在他法國南部的房子裏，直到 1991 年開始被拍賣。 品相：狀況極佳，只有輕微的磨損、一些燒製缺陷和輕微的表面劃痕。 重量：内盤389.6克，六個外盤1,252 克 尺寸：直徑 39.5 厘米(總)，内盤19 厘米，外盤分別19 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎Agutte，2022年5月31日，lot 66 價格：EUR 20,150 描述：康熙素三彩攢盤 專家評論：比較非常相近的外型、梅花邊裝飾、素三彩。請注意相似的尺寸(40厘米)。

A SANDSTONE STUPA DOME FRAGMENT DEPICTING BUDDHA, POST-GUPTA PERIODIndia, 7th-10th century. Finely carved, seated in 'Hellenistic pose' on a lotus base, a stupa dome fragment rising behind him, the head backed by a beaded halo, his hands held in dharmachakra mudra, wearing a diaphanous robe, the serene face with heavy-lidded downcast eyes and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by an ushnisha.Provenance: From the collection of Dr. med. J. G. Swart, Osnabrück, Germany, by repute acquired in India during the 1960s, and thence by descent. A gentleman from Cadiz, Spain, acquired from the above.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, encrustations, old fills.Weight: 28.8 kg Dimensions: Height 41.4 cmLiterature comparison: Compare a related slightly earlier sandstone figure of Buddha, also seated in 'European pose' and with hands held in dharmachakra mudra, dated 5th-6th century, 118 cm high, in the British Museum, museum number 1880.7. Compare a related sandstone figure of Buddha, dated to the 7th century, 50.8 cm high, in the British Museum, museum number 1880.11. Compare a related sandstone figure of Buddha, dated 9th-10th century, in the Victoria & Albert Museum, accession number IS.238-1950. Compare with a closely related sandstone stupa fragment published in conjunction with an exhibition held at the Palace Museum, Beijing, compiled by the Palace Museum, the Fujian Museum, the Zhejiang Museum and the Sichuan Museum: Across the silk road - Gupta sculptures and their Chinese counterparts during 400-700 AD, Gu gong chu ban she, 2016 nian 9 yue.

A CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1740-1840Published:Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, London, 1971, p. 58, no. 149Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 148-149, no. 61China. Well hollowed, of flattened form, rising from an ovoid foot to a straight cylindrical neck, the pale gray stone cleverly carved utilizing the brown and light gray markings to depict a sage and his attendant under a pine tree with a ruyi shaped cloud floating at the top left, the reverse with a horse tethered to a post and a sun drifting amid clouds, incised with a ri character (for 'sun'). The rockwork extending from above the base around the bottle. The work finely detailed and incised. The translucent stone of a pale gray color with brownish black and gray inclusions. Provenance: Squadron Leader S. B. Johnston. Hugh M. Moss, Hong Kong, acquired from the above. Gerd Lester, New York, acquired from the above. Rachelle R. Holden, New York, acquired from the above in 1981. A collector's label from Rachelle Holden with inventory number '48' to the base. S. B. Johnston was an English pilot for the Royal Air Force, who was promoted from Flight Lieutenant to Squadron Leader in 1968. Gerd Lester was a passionate collector of snuff bottles who wrote many articles for Arts of Asia. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear and possibly microscopic nibbles.Stopper: CoralWeight: 57.2 g Dimensions: Height including stopper 67 mm. Diameter neck 16 mm and mouth 6 mm.A tethered horse forms the rebus 'Can catch the wind', indicating that this would be an encouraging and complimentary gift for someone of still undiscovered talent.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1560Price: USD 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, official school, 1740-1840Expert remark: Compare the closely related form and utilization of the dark markings, the color of the agate and the fine incision work, as well as the size (60 mm). 1740-1840年瑪瑙巧雕人物鼻烟壺中國。掏糖良好，寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用焦糖色斑紋，巧妙雕刻，一面描繪松樹下的聖賢和他的侍從，左上角飄浮如意祥雲；反面是拴在柱子上的馬和祥雲，雲中刻有“日”字。雕刻細緻入微，淺灰色半透明瑪瑙，帶有棕黑色和灰色內含物。出版：Hugh Moss，《Chinese Snuff Bottles of the Silica or Quartz Group》，倫敦，1971年，頁58，編號149。 Rachelle Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁148-149，編號61。 來源：S. B. Johnston少校舊藏；香港Hugh M. Moss購於上述收藏；紐約Gerd Lester購於上述收藏；紐約Rachelle R. Holden1981年購於上述收藏。底部可見Rachelle Holden收藏編號“48”。S. B. Johnston是英國皇家空軍的一名飛行員，1968 年從飛行中尉晉升為少校。Gerd Lester 是一位熱情的鼻烟壺收藏家，為亞洲藝術雜誌撰寫了許多文章。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：極好的品相，有輕微磨損，有細微磕損。 壺蓋：珊瑚 重量：57.2 克 尺寸：高 （含蓋）67 毫米，頸部直徑16 毫米及壺口直徑6 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1560 價格：USD 25,000（相當於今日EUR 32,000） 描述：1740-1840年造辦處作瑪瑙巧雕鼻烟壺 專家評論：比較非常相近的外型和利用深色斑紋雕刻，瑪瑙的顏色和巧雕，以及尺寸(60 毫米)。

* LILIAN NEILSON (BRITISH 1938 - 1998),SEA BANK, CATTERLINEoil on board, titled label versoimage size 75cm x 30cm, overall size 81cm x 36cm Framed. Handwritten artist's label verso. Note: Lil Neilson was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Annette Stephen and Angus Neil. Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60, including a summer school at Hospitalfield House, Arbroath. She completed a post-diploma year tutored by Hugh Crawford and Alberto Morroco in 1960-61 and was awarded a travelling scholarship to France and Italy in 1961-62. On her return she joined Joan Eardley in Catterline: they had become friends in 1960 at Hospitalfield House and Eardley invited Lil to paint in the studio she and Annette Stephen shared in Catterline. Like many other painters and visitors, Lil became enthralled with the place. At this time Lil also worked backstage with Reet Guenigault in theatres including the Traverse in Edinburgh and also in England, returning to Catterline to nurse Eardley when her illness was diagnosed in the new year of 1963. Reet joined them three months later to take over and give Lil a rest, and after Eardley's death in August of that year, Lil bought No 2 South Side, Catterline, to make her home in one half and studio at the other end. Some pictures of this period show Catterline views which Eardley famously painted, especially with the great round moons low in the summer sky. Neilson's foregrounds are less detailed and the viewer's eyes are led upwards towards the sky. Lil continued to work in theatres until 1969, when she returned to Catterline to try to work through the Eardley influences which had been made more than a bitter cup. She felt that she must paint that problem out in Catterline. She spent some time in Norfolk with Gaydon Phillips, but not many paintings of Norfolk exist and she returned to paint in Catterline regularly over the next nine years. She moved permanently to Catterline in 1986 and, once there, Joyce Laing's Pittenweem gallery exhibited some of Lil's work which showed new directions. In 1989, at the influential 369 Gallery, Edinburgh, an exhibition shared with Annette Stephen showed a two-room retrospective of Lil's work. Her last show was 'Certain Days and Other Seasons' (1997) at both Seagate and Aberdeen Art Galleries. Lil pronounced this to be ''the end of my life's work'', prophetically as it turned out, for by August 1997 it became apparent that this private and reticent woman had been working under duress for the past two years as the extent of her disease was discovered. Lil's good friends and neighbours loved and nursed her, enabling her to be in her beloved Catterline until she needed the services of Roxburgh House. Lil Neilson's paintings rarely appear at auction and those which have in recent years have often been small studies and sketches which perhaps explains why her UK auction record price remained the £4600 (hammer) for "Catterline" achieved for lot 1744 in The Scottish Contemporary Art Auction on 15.12.2013. However, in The Scottish Contemporary Art Auction of 17th April 2022, "A Beached Boat" by Neilson ( a 43 x 92cm oil) sold for £5000 (hammer) - a new auction record for the artist and then in the same auction on 21st August 2022 "Red Boat" set yet another new world auction record when it sold for £6500 (hammer).

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),LOVERS AFTER THE FLOODoil on canvas, signed, titled versoimage size 66cm x 61cm, overall size 82cm x 77cm Framed and under glass.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2021, lot 655 "Dancing The King" sold for £5000 (hammer).

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),CIRCEoil on canvas, signed, titled versoimage size 60cm x 49cm, overall size 69cm x 59cm Framed and under glass.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2021, lot 655 "Dancing The King" sold for £5000 (hammer).

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),SCOTTISH HARBOUR oil on canvas, signed, further signed and dated 1994 versoimage size 152cm x 152cm, overall size 169cm x 169cm Framed.Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months both by McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer) - probably the highest auction price achieved for a post 1969 example of these dimensions by Bellany. "Scottish Harbour" (likely Port Seton) is one of the larger examples we've offered in recent times and has been consigned by a private Scottish collector. This large composition is more detailed than many of Bellany's harbour scenes and is, as one would expect, a magnificent celebration of "colour".

* DONALD PROVAN (SCOTTISH b. 1964),EAST COASTmixed media on paper, signed, titled and dated 2002 versoimage size 50cm x 70cm, overall size 69cm x 89cmMounted, framed and under glass.Note: Edinburgh-based artist Donald Provan is renowned for his water-related paintings. His work centres on two distinct areas; the land or seascape above and the fish life below. Donald graduated from Edinburgh College of Art in 1986 with a degree in Drawing and Painting, and then gained a Post Graduate Diploma in 1987. His preferred medium is oil which he uses in different ways dependent on the subject matter. In his paintings of fish he applies the paint in a controlled way, whilst in his seascapes he uses thicker paint, with washes of turpentine, letting the paint dictate the final direction of the painting. He has participated in numerous exhibitions throughout the UK, and has had many solo exhibitions in Scotland. Provan is the recipient of several major awards including the Elizabeth Greenshields Foundation Grant, Canada in 1987 and 1992 and the Royal Scottish Society of Painters in Watercolour Small Painting Award at the Royal Scottish Academy in 2008. His work is in many private and public collections, including the Royal Bank of Scotland, the University of St Andrews and Edinburgh College of Art. Provan's principal Scottish gallery is the prestigious Open Eye Gallery (Edinburgh) and his most recent solo show there was 9th - 27th March 2021. Donald Provan's work very rarely appears at auction but in The Scottish Contemporary Art Auction of 17th April 2022 lot 274 "Shoal on Pale Grey" (32 x 63cm) by Donald Provan sold for £1800 (hammer).

* GORDON BRYCE RSA RSW (SCOTTISH b. 1943),VILLAGE BY THE SEAoil on board, signedimage size 23cm x 31cm, overall size 44cm x 49cm Mounted, framed and under glass.Note: Born in Edinburgh in 1943. Gordon Bryce studied at Edinburgh College of Art, where his tutors were Sir Robin Philipson and Sir William Gillies. His love of colour and texture stems from that time and has remained with him since. After graduating, Gordon moved to Aberdeen, to Gray's School of Art, where he was appointed as a Lecturer in Printmaking. He later became head of Fine Art at Gray's, a post he held from 1986 to 1995 when he began to paint full time. Gordon Bryce is now a highly established figure and his contribution to the UK art scene is considerable. His exhibitions both in London and in Scotland have spanned nearly 30 years. He has won numerous awards including the RSA Latimer Award, May Marshall Brown Award, Shell Expo Premier Award and Sir William Gillies travelling Scholarship. His work is in many Private and Public Collections worldwide including those of the Fleming Collection and the Scottish National Gallery of Modern Art.

WILLIAM SIMPSON (1823-1899) 'Pilgrims at Gangootree, 1862' signed and dated lower right, titled lower left, watercolour over pencil, 25cm x 34cmThis work is the original study for the lithograph reproduced in Simpson's important work on post-mutiny India 'India: Ancient and Modern'' (Day & Son, 1867).Provenance: Day & Son The Maas GalleryPrivate CollectionFamed for his pictures of the Crimean war theatre, Simpson was commissioned to illustrate a work on India that was to rival David Roberts's "Holy Land". He arrived in Calcutta in 1859 and joined the party of the Governor-General, Lord Canning, on a tour of the area where the mutiny had taken place. Over three years he visited much of the subcontinent, including the Himalayas, Kashmir, Ceylon, Tibet and its Buddhist temples, and upon his return submitted 250 watercolours to his publishers. However, in the wake of the Panic of 1866, the wealthy English patrons and subscribers on whom Day & Son had banked shrunk away from so costly an undertaking, and the publisher - already under pressure since cheaper wood engravings had turned chromolithographs into a luxury - issued a series of merely 50 chromolithographed plates. Simpson's original watercolours, much to the artist's chagrin, were ultimately sold off as bankrupt stock. The work remains a magnificent achievement, presenting a detailed and wide-ranging representation of India immediately after the Sepoy Rebellion. The Gangotri is the source of the River Ganges, sacred to Hindus who make pilgrimages to the icy waters that spring from the mouth of the Gangotri glacier in the high passes of the Himalayas. The actual source is a few kilometres from the town of Gangotri. According to popular Hindu legend, Goddess Ganga descended here when Lord Shiva released the mighty river from the locks of his hair.

A quantity of silk Kensita cigarette flowers also with post cards mixed subjects and a pocket size 1920s photograph album and others

A Macfarlane biscuit tin style as a Post box, a Crescent railway signal, a painted lead figure and cigarette cards in a box

A World Collection of Stamps, mainly post WWII, housed in a blue loose leaf album, includes a good selection of mint hinged Decimal G.B stamps and modern U.S stamps.

G.B Collection of Presentation Packs, with a face value of over £60. Plus three Smiler sheets, 2012 Olympics, 350 Years of the Post Mark and Wallace and Gromit.

Post Office Interest. Vintage Postal Brass Weighing Scales with Weights. They were Used for Postal Rates for Letters, Made by Avery. Comes with a Good Selection of Weights.

Stamp Interest - Huge quantity of Canada stamps in six stock books. Lots of duplication to suit avriety hunters or making sets for resale. Noted 1898 Introduction of Penny Post (12 examples), many Queen Victoria, lots of KGV sets (there are 11 examples of the 1922 8c stamp), 24 examples of the 1927 3 cents stamp and so on. Catalogue value must be in the £'000s.

Diamond Triple Knot Stud Earrings, comprising baguette cut diamonds totalling .33ct, set in platinum vermeil and silver post and push back fittings; a pretty and stylish pair of earrings

Mystic Topaz and Diamond Stud Earrings, each oval cut topaz displaying flashes of royal purple and emerald green, sometimes known as 'Northern Lights' mystic topaz, here accented with three round cut diamonds, set in 14ct gold vermeil and silver post and push back fittings

White Cultured Pearl Drop Earrings, single ovoid white pearls suspended from looped openwork with white topaz accents, set with rhodium vermeil and silver post and push back fittings; ideal as bridal earrings

Yellow Sapphire Stud Earrings, solitaire oval cut yellow sapphires, a colour considerably rarer than the more regularly seen blue sapphire, set in rhodium vermeil and silver post and push back fittings

Swarovski Zirconia Set Triple Drop Earrings, each earring comprising three bezel set, heart cut, Swarovski Zirconia suspended on three chains of graduated length, from a larger, similar stone, the whole in platinum vermeil and silver with post and push back fittings; Swarovski Zirconia is the highest grade of Swarovski's production, here set by one of their worldwide customers; drop 2 inches (5cms) at the longest point. A romantic pair of earrings ideal for bridal wear or as a gift

Pair of Amethyst Stud Earrings, each a round cut 3ct solitaire amethyst, set in platinum vermeil and silver post and push back fittings; a generous total of 6cts of amethyst

A Small Accumulation of Ten R.M. Year Packs, (two x 1983, two x 1987, two x 1988, 2 x 1989, 1 x 1990, 1 x 1991), three x R.M 'Post and Go' Packs and a 2002 Prestige Booklet, total face value in excess of £120.

A Nice F.D.C Collection, including Centenary of first postage stamp 6 May 1940, Victory 11 June 1946 with slogan post mark 'Don't Waste Bread Others Need It', QEII Coronation, Commonwealth Games 1958 through to 1970. Plus a few Regional F.D.C's.

An Accumulation of G.B Decimal Mint 'Smiler Sheets', 'Prestige Booklets', R.M 'Post and Go' Packs, etc, with a face value of over £230 and catalogue value of around £400.

G.B Two Hundred FDC's, between 2004 and 2017 including Post and Go Cover, some duplication, good condition throughout.

Collection of GB and Foreign coins and tokens etc incl. Admiral Vernon Portobello, Weekly Post, Cartwheel half-penny, Geo 1V Maundy 1d, two Victorian silver 3d, Mexican 8 Reales 1894, GB Lucitania medallion etc (25)

Twelve cigarette card albums, loose cigarette cards of players, other post war collectors cards, "Port Said and Suez Cannel" album of thirty two views

1930's Swiss cocktail watch lozenge shaped case set with marcasite (AF), two Ingersoll ladies 7 jewel wrist watches, ladies Accurist hand wound wrist watch and other ladies post 1950 hand wound wrist watches

Wanderer stamp album containing GB, Empire and other foreign stamps, pre and post WWII

C20th copper flagon jug with C shaped handle, H29cm, pair of Neo-classical design fire dogs, C20th copper post horn with brass mouthpiece and collar, overall L89cm, other decorative brassware and silver plate (qty)

Victoria orange £5 stamp (SG 38) with Tunbridge Wells post mark, D, F bottom letters

POST PUNK/NEW WAVE/POP. Forty 12" albums and singles. SEX PISTOLS. 'The Great Rock N Roll Swindle,' V2168, 1980; NEW ORDER. 'Blue Monday,' FAC 73, 1983; UB40. 'Signing Off,' GRADLP 2, 1980; SOFT CELL and MARC ALMOND. 'Tainted Love,' SOFT 212, 1991; THE CURE. 'Disintegration,' 839 353-1, 1986; TALKING HEADS. 'Slippery People,' 12EMI 5504, 1984; With thirty-four others concluding Blondie, 10CC, The Style Council, Roxy Music and The Pet Shop Boys. (40)

Europe: 2 boxes, one containing mainly mint & used defin/commem; the other empty one-country ring binders. Stamps in first from countries such as Austria, Belgium, Czechoslovakia, Finland, Germany, Liechtenstein, Portuguese islands such as Madeira & Azores, Russia, San Marino, Sweden, Switzerland & Yugoslavia in 3 albums, on cover, stock pages, sheetlets, booklets etc. Much post-WWII, some earlier. In addition, c20 E.German registered covers and blocks in sleeve from 1970s/80s with small box of other covers from late 1800s to modern day.

Germany: 2 red "The Ace" albums of mint & used German defin & commem stamps from 19thC Bavarian State through Weimar & 3rd Reich to E & W Germany up to 1952, incl many sets. Scarcer mint & used of the latter just post-war with good cat values seen as well as German & Allied occupation issues. Much to interest.

GB & World: Boxed collection of 3 world albums of mostly post-1950 mint & used defin & commem plus stamps in packets and loose incl China Republic and PRC. In addition GB 2002 Football World Cup "Smiler" sheets (2), a Wembley mini-sheet, 30 FDC 2007-9, Millennium Collection booklet & SG "British Stamps" Cat 2002. Decimal FV £50+.

GB: FV c £1,250+ in collection of UMM QEII defin & commem by issue 2011-2022 in sheetlets, mini-sheets & pres packs within large blue SG stock-book. Post & Go, higher values to £5 and numerous 1st, 2nd, E and worldwide stamps seen.

All World: Box of 12 albums of mint & used defin, commem, fiscla etc plus old stamp & auction cats & books from 1950s-2014. In addition, Norwegian post office number guide, 1956, and some purposed FDC of Papua New Guinea and FI. Albums incl 2 of Locomotive Philatelica with 100+ pairs of stamps celebrating various railway engines of British C'wealth countries, an album of Czechoslovakia and a "Triumph" of many pre-1950s issues from around the world.

Seven Boxed & unbuilt Italeri plastic model kits to include 3 x aircraft (1352 1:72 Sunderland Mk. III, 1434 1:72 F-4M Phantom, 1:48 V-22 Osprey), Military motorcycles 7402 1:9 Triumph 3HW, No 104 1:72 Messerschmitt ME-323 D-1 Gigant and 2 x 3661 1:24 Range Rover Police, plus 2 x boxes Italeri 1:35 accessories (No.s 407 & 418 Observation Post). Contents appear gd but unchecked for completeness, boxes fair to gd)

Four Boxed / cased Corgi diecast models to include 2 x cased Modern Trucks 75502 Leyland-DAF Box Trailers (Royal Mail and Parcelforce), 2 x Corgi Premium Edition Post office models (23802, 29501) and a boxed Corgi London Transport ltd edn model CC25904 with certificate (diecast ex, boxes/cases fair-gd)

GB & ROW: Large box of defin & commem stamps incl albums, collectors packs, covers (many first day) and progressive proofs. Good variety of covers with Postmark Club album full, Royal residence postmarks, high value issues, regional, TPO, FPO, local post and strike mail. Other album is purposed ltd edn "The Commonwealth Collection" full of UMM commem celebrating Commonwealth Day 14 Mar 83. In addition 2 purposed GB decimal albums (no stamps) and 1980s ltd edn progressive proofs (c 20 sets) from Nevis, Tuvalu & St Vincent.

A 19th century Saxon cello Two piece back measuring 75cm, ebony fretboard, cosmetic scratches, lacks bow and case.There appears to be a crack in right side of the cello which has been repaired, apart from this there are no signs of any other cracks in the body and neck. The sound post and bass bar appear to be undamaged and no signs of woodworm. The neck from the bottom of the peg box to the edge of cello front measures 28cm.

A pair of Chinese blue & white vases, Qing, 19th century, of hexagonal form, painted with panels of auspicious fruits and flowers between bands of wanzi, ruyi heads and leiwen (meander), apocryphal Kangxi four character mark, 25cmA private London collection.One vase has a very small burst glaze blister on one corner edge. Some firing cracks are visible on the interior but not on the exterior. Some small glaze air bubbles burst on the rim but no signs of any post production chips, cracks or restoration. Both vases are generally in good condition

Moritz Gottschalk post Modernist 1950 Wooden Dolls House with roof top garden and sun porch. A fine dolls house which has been played with my 3 generations and needs some attention with door hinges and the plate glass windows are present and the sun blinds are original and is dusty with age. The sun porch on the roof lacks arm levers to hold it out but structurally the house is sound-Many papers and flooring original and marked as shown in detailed photographs, ad the house is all original and a seldom seen model from this Company-4 internal rooms and hall and staircases and rooftop garden , roof sun porch and an external roof garden staircase and on Original Platform and small garden wall surround and  stucco render.

*Maurice MacGonigal PRHA (1900-1979)Clifden, Connemara Oil on Canvas, 101 x 126cm (39¾ x 49½")Signed, inscribed verso(Painted from the D’Arcy Monument o’er looking the town of Clifden; Monument to John D’Arcy (1785-1839) the founder & owner of the Clifden Estates. The hill is known as Cloghaunard and the monument commenced soon after his death about 1841). The Estate being burdened with pre-existing debts and post famine debts added, it crippled the estate and after D’Arcy’s death his son, the Rev Hyacinth D’Arcy (then Rector of Clifden in the Omey Union) was bankrupted, the estates were sold through the ‘Encumbered Estates’ to the Eyre family of east County Galway and Bath for £21,245 and again became encumbered with further debts, resold before 1900, and by 1919 acquired locally, the house (Clifden Castle) became ruinous, and the Land Commission redistributed the agricultural land to local farmers following a period of agitation.The artist had frequently painted a view of the town from the vicinity of the monument but never found a day nor time when he could get the pictorial value of a ‘spring tide’ to give a cohesion of pictorial elements including the distant Twelve Bens. By this I mean that the light and colour as well as reflections from the inrushing water were not all present together. In his ‘70s by then he insisted we find the date when a particular ‘spring tide’ would fall so that he could work on a larger  canvas. He prepared both the stretcher (the timber internal frame if you like) and the canvas himself - visits to ship’s chandlers for the correct canvas weave and art suppliers went on for quite a time. Using an old German art book (Max Friedländer) on ‘artists materials’ for the correct ‘recipe’ he primed the canvas flat and then attached it to the stretcher framework - the job of transporting it by van (our estate car being too small) was an adventure. Climbing that steepish hill with the canvas holding onto the stretcher framework was memorable to me as the carrier. Having to fetch his painting box laden with materials was doubly memorable.After some hours he indicated that he was done - for safety I photographed the work ‘in situ’ (my polaroid camera was at least useful) .. said photograph survived intact in the artist’s file and was only coincidentally re-found very recently in the artist’s archive which had been retrieved by Professor Katharine Crouan who had written the original MacGonigal catalogue for the exhibition in the Dublin City - Hugh Lane Gallery many years ago.The artist was using the oddity of perspective of the two churches in the town to create a powerful diagonal and a lesser diagonal of the road from the town towards the Sky Road and the monument. It’s or their purpose was to stress the decorative elements of the town houses which have the pictorial quality of being very tall in front and even taller in some cases at the rear owing to the cliff-like nature of the site on which the town was based by Alexander Nimmo’s designs for the landlord (D’Arcy) then developing the hamlet into a town.The artist avoids the dangers of centering the composition with another diagonal of the banked elements of the backs of the houses as well as the smaller ‘cross cutting’ Ardbear Road to the right of the composition. The middle distances are those of the boglands and small fields and the massive effects of the Twelve Bens (in Irish na Benna Beola) whose sharp peaked quartzite summits form the backbone of Connemara and give and gave such an impetus to artists working to the aesthetic ideals of ‘en plein air’ forming the rise above the horizon line of this work.The foreground of the tide suggested to the artist that it was about to “turn and  recede” so he pushes on to give reflections in the water in order to pull the entire composition together. The artist spent over 50 years of his painting life looking at and painting, drawing and colour-noting the qualities of the Connemara landscape, and appropriately he lies in Connemara forever looking at a beloved land and seascape.Ciarán MacGonigal, August 2022* Please note this lot is imported under Temporary Admission. It will attract import duty of 13.5%.

Norah McGuinness HRHA (1901 - 1980)Days End on Dublin BayOil on canvas, 91.5 x 122 (35¾ x 48")SignedProvenance: With The Dawson Gallery, Dublin, label versoNorah McGuinness was one of a number of remarkable women who, in essence, transformed Irish art in the first half of the 20th century. They did so not only on the basis of gender, though they certainly did secure a central role for women in the Irish visual arts, but also their varied though unmistakable commitment to aspects of modernism - and modernity. Born in Derry, McGuinness was from early on a notably independent spirit (her family disapproved of her art studies, but she quickly became financially self-sufficient). A three-year scholarship brought her to the Metropolitan School of Art in Dublin, where Harry Clarke, who became a good friend, saw her potential and nudged her towards illustration. She proved to be a fine illustrator, but her sights were set on painting, and after enjoying a year studying in London, a year that opened her eyes to the possibilities of contemporary painting, she established herself in Wicklow; painting, illustrating and doing stage and costume designs for the Abbey and the Peacock.She also married the flighty literary figure Geoffrey Phibbs (later Geoffrey Taylor), hence finding herself an unwitting participant in the emotional melodrama of his involvement with the ménage à trios comprising Laura Riding, Robert Graves and Nancy Nicholson, initiating a scandal that inevitably ended their marriage in 1930 (when she rebuffed Phibbs’s attempt at reconciliation).Mainie Jellett had encouraged her to study Cubism with André Lhote, which she did. Technically adept, she easily accommodated elements of Cubism in her own work, warming to Braque particularly, but also to the Post-Impressionism of Raoul Dufy and the Fauvism of Maurice de Vlaminck. After time in Paris, London and New York she settled in Dublin. Productive as an artist, she also designed window displays for Brown Thomas and was a founder-member of the Irish Exhibition of Living Art, serving as chair for many years. She and Nano Reid were the first Irish artists to represent Ireland at the Venice Biennale, in 1950. This audaciously spare work featuring a landmark location encapsulates her flair for pictorial design in a composition hinging on a dynamic arrangement of interlocking planes and forms, a beautifully engineered light-and-dark tonal scheme and a minimal palette of black and white plus mauve-greys and yellows (and steering clear of her customary greens and browns). She had, over the years, become expert at implying a wealth of detail with elegant economy of means.Aidan Dunne, August 2022

A pair of 9ct yellow gold flower studs set with a round cut purple stone, 6mm diameter, post & butterfly fitting, 0.57gm.

A pair of 9ct yellow gold stud earrings set with an oval cut blue topaz and with a small round cut diamond to each top, post & butterfly fitting, 0.88gm.

A pair of 10k white & yellow gold flower cluster earrings set with round cut emeralds, total emerald weight approx. 0.48ct and a small central set round cut diamond, total diamond weight approx. 0.06ct, diameter 8mm, post & butterfly fitting, earrings stamped 10k and are hallmarked 375 (9ct), 2.30gm.